I'm starting this to avoid any sort of multiple threads involving things I'm doing musically. Bookmark this thread if you want updates on any works I'm doing, and I'll post my new compositions here as I finish them, as I recall some of you enjoyed my New Heavens work- which is now finished!

My work "The New Heavens is now complete, and I am very happy with it! Here's the finished product. hope to have it recorded soon.

Thanks EV

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"Although it is not true that all conservatives are stupid people, it is true that most stupid people are conservative."

This is a suite of pieces for the Viola. It's called "A Suite of Preludes".

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Hi all, a new composition for the Viola. I apologise in advance for any wrong notes!

I conceived of the idea of this when playing the Bach Prelude to the Cello Suite No.3. I thought to myself- "The preludes to all the suites are the best bits. Shame there aren't any for the Viola..."

I decided to write a suite of 6 Preludes for the Viola corresponding to the 6 pieces in Bach's Suites and the 6 suites (and partitas) in Bach's collections for the Violin and Viola. There is the introduction, which is a prelude to the preludes, and 5 preludes that are also slight variations on the thematic material. The piece explores different moods, before ending with No.5- which starts as a chordal variation with a minor middle section, which instead of recapitulating as the theme from No.5; ends with the Introduction again.

I hope you enjoy this work! Please like it if you enjoyed it, and subscribe to me if you haven't already, and I'll keep you posted in my goal to write a ton of repertoire for the best, and most underappreciated and underwritten for instrument- The Viola.

This Suite is dedicated to Sarah-Jane Bradley, my Viola teacher at the Royal College of Music, for being the best teacher a teacher could possibly be.

Let me know any thoughts you have on these.

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"Although it is not true that all conservatives are stupid people, it is true that most stupid people are conservative."

Not at all too long; my smiley at the end was to indicate a Philistine commenting on a genius. Am I right in detecting influences of Beethoven (#6), Sibelius and Copeland – a tremendous evocation of open spaces and a portend of something not so pleasant to come and disturb the scene?

Background would be helpful. Has the piece a name? Is it written to depict something?

The beauty of your work is that you don’t know what’s coming next, but when it does, you know it is what it should be.

Can I say that the developed theme (c. 4:30 -> 6:00) is beautiful? Very precise, yet flowing. And the sudden stop (there must be a musical term for that) at ~6:30 is masterful. Then the new variation on the theme – you have the Bass drum exactly correct.

I was initially dubious about the suddenness and volume of the “car-horn” (1:20 -> 2:30) I still have reservations but I put much of it down to the low quality headphones I have. I was looking for that Bass Drum that you use a little later, or perhaps something a little softer and very slightly more lingering - very slightly… some slight fade.

I often stand in awe of people who can string together a few notes; the complexity of what you have done is remarkable, and to get it so right… :speechless:

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Nobody says “There are many things that we thought were natural processes, but now know that a god did them.”

Not at all too long; my smiley at the end was to indicate a Philistine commenting on a genius. Am I right in detecting influences of Beethoven (#6), Sibelius and Copeland – a tremendous evocation of open spaces and a portend of something not so pleasant to come and disturb the scene?

I have written it loosely based on the opening of the Rachmaninov 2nd Symphony. Each of the three movements I am writing echoes a different part of his symphony- the first movement is the opening on the Celli and Basses with the chord coming in and altering over a suspended harmony. The second movement takes the beautiful clarinet theme from his 3rd movement and varies it, while the final movement is going to echo Rach's beautiful tune-writing.

I guess there is a lot of influence from Beethoven, as he is one of my favourite composers and wrote for important instruments that were then not as important. The main point of my instrumentation is to showcase the Cor Anglais, which is sadly rarely used as a solo instrument, I have scored for three of them (which to the best of my knowledge INCREDIBLY rarely happens).

Sibelius and Copeland are both composers I haven't delved into yet, but Sibelius is next on my personal study list. I am looking forward to immersing myself in his symphonies and violin concerto when I have some time!

Background would be helpful. Has the piece a name? Is it written to depict something?

The context is that some time ago, when I was about 13, I was almost going to give up Music. I was distraught because my Violin playing was abysmal, I had the wrong teacher who taught me nothing, I was not progressing and I was losing my spark that caused me to keep wanting to do it.

I then switched to a new piano teacher, the head of Piano at my school. He listened to me and treated me as an equal for the first time as a musician. He never taught me piano, and we'd spend the whole lesson talking about Music. Slowly my confidence came back, I did want to be a musician, partially to emulate this amazing man who was helping re-inspire my confidence. Sadly he left the school, to take up a position conducting the Royal National Ballet. Everyone at the school was fairly sad. Eventually I switched to viola 11 months ago, he'd always be popping back in to see how we all were. He'd been head of piano there formany years, and before that a professor of piano at the Royal College of Music for 32 years, having been the youngest professor ever at the time (26 or something).

Out of the blue 2 months ago, our head of music told us that this amazing man, the old head of piano, was very ill. He had terminal Cancer.

Naturally I was very upset. At this point, I was involved in the idea to write this symphony and had started sketches in earnest. I decided the best thing I could do for him was dedicate him the symphony in his name, so in some way I would be able to always remember his contribution to my life. I wrote him a letter informing him, and asked him not to reply, because this is a gesture that needs no thanks or reply, it simply must be.

The front of the score features a passage from the letter I wrote him:

"And as the symphony of existence comes to a close, as the applause begins and the music fades, this concert may be approaching its final moments,But that little boy sitting in the front row, mouth agape, will grow up, and the baton has already been handed over to the next generation, and the music will never truly die."

I'm also basing it on one of his favourite composers- Rachmaninov.

This piece details my struggles through that period up until the present day, and illustrates the different emotional nuances with which I can express that annoyance, grief, happiness, love and vitality. The happier variations in the earlier first movement are also wistful, giving way to explosive anger and frustration, but with still a childlike simplicity that pales against the more imposing sounds surrounding them. The constant staccato quavers are anticipatory, ever-moving and drive the work forward, not losing that precious momentum built up by the unstable nature of the tempo and harmony.

The beauty of your work is that you don’t know what’s coming next, but when it does, you know it is what it should be.

EXACTLY. I use unexpected but very conservative cadences willingly and often- I am not a fan of contemporary 'free harmony', but I love using things like inverse german 6ths, interrupted cadences and chromatic shifts, which to me bring the greatest effects. I've expounded this far more accurately and more accomplished than since "The New Heavens"...

Can I say that the developed theme (c. 4:30 -> 6:00) is beautiful? Very precise, yet flowing. And the sudden stop (there must be a musical term for that) at ~6:30 is masterful. Then the new variation on the theme – you have the Bass drum exactly correct.

The timpani is a driving force. I have got 3 percussionists coming to play in this, so couldn't disappoint them when it is performed The Gong (tamtam) is perfect in the section after that as well.

I reckon you could call it a G.P (general pause), although the effect intended was for that constant momentum that defines the first half to suddenly stop, which should release the tension, but actually enhances it.

I was initially dubious about the suddenness and volume of the “car-horn” (1:20 -> 2:30) I still have reservations but I put much of it down to the low quality headphones I have. I was looking for that Bass Drum that you use a little later, or perhaps something a little softer and very slightly more lingering - very slightly… some slight fade.

Haha, yes it is playing there. The Sibelius Sounds package I used to export it sounds blissfully awful. I am hoping that it will be much better with an actual orchestra. It is there to bring forth the seriousness of the work, and to establish the themes with more of a 'bang', giving them more weight.

I have written it loosely based on the opening of the Rachmaninov 2nd Symphony.

I’m sadly lacking in Rachmaninov – I will seek him out. From what you say, I suspect the romantic yearning for the open and dramatic spaces of Russia.

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The main point of my instrumentation is to showcase the Cor Anglais,

Massively underrated – a beautiful instrument.

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The context is that some time ago, when I was about 13, I was almost going to give up Music. I was distraught because my Violin playing was abysmal; I had the wrong teacher …

I then switched to a new piano teacher, the head of Piano at my school. He listened to me and treated me as an equal for the first time as a musician.Out of the blue 2 months ago, our head of music told us that this amazing man, the old head of piano, was very ill. He had terminal Cancer…

The front of the score features a passage from the letter I wrote him:

"And as the symphony of existence comes to a close, as the applause begins and the music fades, this concert may be approaching its final moments,But that little boy sitting in the front row, mouth agape, will grow up, and the baton has already been handed over to the next generation, and the music will never truly die." I'm also basing it on one of his favourite composers- Rachmaninov.

That’s quite beautiful and I know it gave him much pleasure to read and know he was appreciated – you have a way with words too.

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This piece details my struggles through that period up until the present day, and illustrates the different emotional nuances with which I can express that annoyance, grief, happiness, love and vitality. The happier variations in the earlier first movement are also wistful, giving way to explosive anger and frustration, but with still a childlike simplicity that pales against the more imposing sounds surrounding them. The constant staccato quavers are anticipatory, ever-moving and drive the work forward, not losing that precious momentum built up by the unstable nature of the tempo and harmony.

I hope this is written down somewhere other than here. In many years time, when students have to study the work of EV, the music critic will not have annoy everyone by indulging in wild speculation.

I’m sadly lacking in Rachmaninov – I will seek him out. From what you say, I suspect the romantic yearning for the open and dramatic spaces of Russia.

One hundred percent. Listen at about 31:47 to this:

and tell me you do not feel the awesomeness of this work. The adagio is the single most beautiful movement I have ever heard of anything ANYWHERE, and I am paying homage to that by using the main clarinet theme as part of my adagio as a motif, which I am varying within the composition.

The main motif of my symphony, the D-E-F___E D (Cello theme that opens the piece) is another quote from the first movement of the Rachmaninov 2nd symphony, a copy of the opening, but used throughout more than Rach did to just show how much you can do with such a simple theme.

Exactly! I don't understand how composers have neglected it so far! It's almost criminal, especially since there is not a single concerto for the instrument listed on Wikipedia. I will be writing one shortly.

That’s quite beautiful and I know it gave him much pleasure to read and know he was appreciated – you have a way with words too.

Actually, I ran into him out of the blue a few days ago at my school, he had come back to visit. Turns out the first course of treatment he had received appears to be working. From how well he appeared I'd guess there is a good amount of hope that he may make more of a recovery.

Back after a long leave of absence from the (down) forum to... Not much new stuff really. Been busy writing, but nothing finished and performed. It'll all be going up in February. Lots of news though!

Firstly got a Scholarship and a Place at the Royal College of Music- really REALLY happy about that!

I'm now also in the process of arranging my New Sounds concert, tell me if you like the design-

I also had my work performed in front of royalty for the first time- Prince Richard, Duke of Gloucester was present at the world premiere of this abominationstain on naturecomposition for Chamber Orchestra, performed at the Carpenter's Hall, London. A CHRISTMAS MEDLEY.

Let me know what you think of it all, I do value your guys's opinions very much! Glad to be back. Hope you all appreciate my *ahem* christmas abomination.

OK. I listened to the whole piece three times and the opening six times. I was expecting the “Good King Wenceslas” opening to open as a positive playing followed by a distant echo (a la Beethoven’s 5th) and then break into the carol with some enthusiasm. Not only did that not happen, I heard no more of King W. When I first heard the opening, I thought they were tuning up. Three repetitions of music and their echo are too many and I felt it did need to develop into the variation on King W.

Your whole piece was also sometimes challenging for the players – you required all of them to play together at some speed. I felt that this was overstretching them just a little. If you are not dealing with seasoned professionals, I’d keep away from fast, unfamiliar pieces for the entire ensemble.

A notable exception was the familiar “Jingle Bells” in which a successful balance was struck, I felt the musicians knew where they were going, were confident without being cavalier and here we had the sleigh, the speed, the cold, the flurries of snow and general winter themes pleasingly intermingled and portrayed.

I’m glad I listened three times, but twice would have done, as by then, like all memorable pieces, I was listening in anticipation rather than for my own expectation.

I don’t think it one mark less than your earlier piece but it is a worthy follower.

Tell me, (i) when you write the music, is it all in your head or do you write it to a computer program that can play it back as if there were an orchestra there? (ii) Now you have hob-nobbed with royalty, are you expecting something in the Queen’s Birthday Honours?

Oh yes, the poster - restrained, tasteful and magnificent. Whoever did that was a genius; a beautiful and eye-catching work that captures the tone of the concert.

« Last Edit: January 08, 2013, 07:55:14 AM by Graybeard »

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Nobody says “There are many things that we thought were natural processes, but now know that a god did them.”

OK. I listened to the whole piece three times and the opening six times. I was expecting the “Good King Wenceslas” opening to open as a positive playing followed by a distant echo (a la Beethoven’s 5th) and then break into the carol with some enthusiasm. Not only did that not happen, I heard no more of King W. When I first heard the opening, I thought they were tuning up. Three repetitions of music and their echo are too many and I felt it did need to develop into the variation on King W.

Your whole piece was also sometimes challenging for the players – you required all of them to play together at some speed. I felt that this was overstretching them just a little. If you are not dealing with seasoned professionals, I’d keep away from fast, unfamiliar pieces for the entire ensemble.

The Good King Wenceslas theme was actually repeated 4 or 5 times, but I made it too subtle. It's quoted throughout- I think a total of 5 times. Also, I know it wasn't completely together- it sounded not as together purely for two reasons- we had rehearsed it 3 times, and the orchestra was made up of 16-18 year olds.

A notable exception was the familiar “Jingle Bells” in which a successful balance was struck, I felt the musicians knew where they were going, were confident without being cavalier and here we had the sleigh, the speed, the cold, the flurries of snow and general winter themes pleasingly intermingled and portrayed.

I’m glad I listened three times, but twice would have done, as by then, like all memorable pieces, I was listening in anticipation rather than for my own expectation.

I don’t think it one mark less than your earlier piece but it is a worthy follower.

Exactly as I expect, as I wrote this to a commission and understandably was quite pressed for time when it was being prepared. Thanks for your comments on Jingle Bells, I did think that carried through the best out of all of the individual parts.

Tell me, (i) when you write the music, is it all in your head or do you write it to a computer program that can play it back as if there were an orchestra there? (ii) Now you have hob-nobbed with royalty, are you expecting something in the Queen’s Birthday Honours?

i) When I write the music, I usually write straight from my head into a computer program. I tend not to listen through stuff until it is nearly finished, and as I don't like working things out on a piano, I prefer to be able to listen to the chords build up as I write them. So yes, I actually use a combination of both of those things!ii) Haha! I wish. Maybe in 30-40 years time. Contemporary Classical Composers are included fairly regularly- Sir Richard Rodney Bennet being a notable example.

Oh yes, the poster - restrained, tasteful and magnificent. Whoever did that was a genius; a beautiful and eye-catching work that captures the tone of the concert.

That does mean a lot. My Uncle designed this, and he did do an incredible job. It is, as you say, a really eye-catching design. He is currently in the latter stages of an untreatable terminal brain cancer, and designed this a few months ago. He was really pleased when I showed him a copy of the flyer the other day, and definitely recognised it. I'm so grateful to him for doing it, especially as he did such a sterling job. It's personal to me as well as being a great design, which I really love, and will be reusing it year on year if it goes well this year. The startup for an event like this is always the hardest part!

Thanks for your feedback Graybeard, it's really good to have stuff that is wrong pointed out. If I revised this now, I would definitely alter the format slightly.

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"Although it is not true that all conservatives are stupid people, it is true that most stupid people are conservative."

The main reason that I actually took up the Viola was because I acquired a fine Viola that used to belong to a kind man named Michael Mercer. When he passed away, he wanted his beloved instrument to go to a young person who would be able to make good use of it, and cherish the instrument and the music it could make as he did.

I am a great believer in music being a hereditary art- the skills handed down from teacher to student are constantly evolving, but came directly from the birth of western classical music in the 1600's. Because of this, I have been wanting to write a piece for Solo Viola to express the thanks and the sadness that came mixed with my own Viola for a long time. Only recently have I felt able to do it though, and the resulting piece was possibly the most intense work I have ever written.

Please let me know any thoughts as usual, I'd be interested to see what you make of my shift in style.

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"Although it is not true that all conservatives are stupid people, it is true that most stupid people are conservative."

I tell you what – that was magnificent. I am now seeing your style come through, which is quite distinctive and maturing towards a continuity and overall balance. The final part of the piece was the best music you have written – so far. But that is not to say that the earlier parts lacked anything, though I do have my reservations about the odd sudden dramatic chord – that said, it is part of your signature.

Even had I not seen the dedication, I would have taken it that it was part autobiographical, part biographical. I found it quite moving. To me, it told a story. At first, I placed it in the style of the end of the 19th century but then changed my mind and saw it as a timeless warm afternoon in an old study; the sort of placed you’d find at Oxford or Cambridge. Relaxed, confident, assured, friendly, but with a hint of foreboding rising every now and again – life is going on.

I have saved it to my favourites.

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Nobody says “There are many things that we thought were natural processes, but now know that a god did them.”

I tell you what – that was magnificent. I am now seeing your style come through, which is quite distinctive and maturing towards a continuity and overall balance. The final part of the piece was the best music you have written – so far. But that is not to say that the earlier parts lacked anything, though I do have my reservations about the odd sudden dramatic chord – that said, it is part of your signature.

Even had I not seen the dedication, I would have taken it that it was part autobiographical, part biographical. I found it quite moving. To me, it told a story. At first, I placed it in the style of the end of the 19th century but then changed my mind and saw it as a timeless warm afternoon in an old study; the sort of placed you’d find at Oxford or Cambridge. Relaxed, confident, assured, friendly, but with a hint of foreboding rising every now and again – life is going on.

I have saved it to my favourites.

Thank you Graybeard, very pleased you liked it. Your comments are very insightful, and pinpoint my music very well. Your thoughts are both useful and inspiring- high praise indeed.

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"Although it is not true that all conservatives are stupid people, it is true that most stupid people are conservative."

That was entertaining. For some reason it brought back memories of when I was in college and we used to sneak into the concert hall in the evening and fire up the pipe organ and play "disrespectful" tunes on it. We would then go and similarly defile the harpsichord. I just took up singing again after several years inactive.

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It doesn't make sense to let go of something you've had for so long. But it also doesn't make sense to hold on when there's actually nothing there.

That was entertaining. For some reason it brought back memories of when I was in college and we used to sneak into the concert hall in the evening and fire up the pipe organ and play "disrespectful" tunes on it. We would then go and similarly defile the harpsichord. I just took up singing again after several years inactive.

Glad you liked it. Ah the days of musical messing around!

We've recently recorded a new version- at Steinway Hall in London. This is far better than the previous one.

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"Although it is not true that all conservatives are stupid people, it is true that most stupid people are conservative."